From an initial focus on self-exposure, Fides Becker extends her range of topics to seduction, sex, violence, obsession with beauty, and compulsive consumption. In her paintings she uses visual elements like dolls, toys, furniture, as well as female body-parts. In the seven deadly sins a new series of black paintings, Becker reflects on the state of virtues and its values in the present times and ponders their relevance for contemporary society. Becker refers to the portrayal of the seven deadly sins by engaging in a dialogue with the history of painting and translates them into the present. Doing so she refrains from depicting the human figure directly, but rather draws the viewer in through symbolically charging objects as allegories. By adopting parts of the traditional grisaille technique, she is able to render the materiality and physicality of her subjects in a captivating manner.
Combining text and image using only black acrylic on untreated canvas, Heinke’s methods are unique and highly impactful. Schooled initially on the streets of Frankfurt, Heinke discovered studio painting after being arrested for graffiti writing. Heinke went on to study at Johannes Gutenberg Universität Mainz before undertaking his Masters at the renowned Städelschule. Since then he has gone on to become one of Germany’s most vibrant young painters, exhibiting globally and being placed in prominent private collections, including that of Michael & Susan Hort in New York.
The background of Florian Haas´ enraptured fairy tale worlds are directly formed by allegories of social conditions. The childlike appearing parallel worlds are crisscrossed by a hardly noticeable crack. The painting is never an end in itself, but always an appropriation of the world in small steps. His paintings are based completely on wishful thinking. The images that have arisen in the process are not ironic, sweet or funny. Haas means it totally serious. To a world of concurrence and submission he places a world of beautiful nature in opposite, which is not idealised, but pictured in its individual forms of appearances and respected. The criticism of human conditions is manifested in Haas´ works in a form of a appreciation of natural organisms, which seems to propose a more peaceful form of life together.
Zimmer’s paintings are both informed by the context of so-called “institutional critique” that the medium has faced since the 90`s and the Internet impact on culture at large and its distribution. Belonging to the Post-Internet Art generation and experiencing the changes brought from a long-since digital age and the network ideology, Zimmer develops his paintings concerned particularly with their materiality and their ways of presentation and dissemination in the physical and digital space.